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Yeki Bud Yeki Nabud, a story collection written by Mohammad Ali Jamalzadeh (1892-1997), marks the beginning of modern short story in Iran. Along with the stories in this collection, also known as the very first attempts to write Persian short story, the foreword to this book is of prime importance in Persian literary studies and literary theory. One of the basic and yet significant concepts of this foreword is “literary democracy.” The analysis of the micro-concepts and metaphors developed in this foreword helps us analyze this particular macro-concept and hence better understand the foundation for the notion of “literary democracy.” It is also important to note to what extend this macro-concept have played a role in modern Persian literature.

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Khandidani [to be read and seen at the same time] is a kind of poetry that has an inseparable connection with visual arts. Mehrdad Fallah, as an Iranian contemporary poet, has been focusing on the written /performative aspects of poetry rather than its spoken aspects, which is manifested in the form and structure of his poems. Fallah introduces Khandidani as “rediscovering writing and writing symbols’’ which converts to ‘’stage poetry” in the process of reading and seeing the poem. The primary assumption of the current paper was that the initial idea of Khandidani was formed under the influence of the world literature, and in particular Guillaume Apollinaire, who was mainly interested in the written form of the poem, painting and cubism. It should be mentioned that there are also instances in classical Persian poetry which utilized some of the techniques that Fallah employed in his poetry. In the current paper, the inter-artistic, intertextual and comparative basis of such poetry was studied. Moreover, it was clarified that how the poem is read and seen on both sides of the poet/ reader dichotomy.
 

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